Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
15 Mar 2005
Countertenors Victorious in Copenhagen
Last week in the Danish capital city, still chilly after freezing weather and heavy snow, the spirits were raised by two contrasting but equally fulfilling events in the shape of the Danish Royal Opera’s revival of Francisco Negrin’s production of Handel’s “Giulio Cesare” featuring the return of star European countertenor Andreas Scholl in the title role, and the debut appearance in the city of his American counterpart, David Daniels, in a concert performance of Bach and Vivaldi. Both singers were in fact enjoying indulging their talents in their less well known fachs: Scholl is rarely seen on the opera stage and admits to feeling less than completely at home there. Daniels, on the other hand, fresh from yet another Handelian triumph at the Metropolitan Opera (Bertarido in the sumptuous new production of “Rodelinda”) is not known as a Bach specialist, but was essaying his second concert performance in Europe of the great cantata BWV82, “Ich Habe Genug”, reviewed elsewhere.
Copenhagen Opera House
High Flying Singing: Copenhagen's Baroque Feast
Last week in the Danish capital city, still chilly after freezing weather and heavy snow, the spirits were raised by two contrasting but equally fulfilling events in the shape of the Danish Royal Opera's revival of Francisco Negrin's production of Handel's "Giulio Cesare" featuring the return of star European countertenor Andreas Scholl in the title role, and the debut appearance in the city of his American counterpart, David Daniels, in a concert performance of Bach and Vivaldi. Both singers were in fact enjoying indulging their talents in their less well known fachs: Scholl is rarely seen on the opera stage and admits to feeling less than completely at home there. Daniels, on the other hand, fresh from yet another Handelian triumph at the Metropolitan Opera (Bertarido in the sumptuous new production of "Rodelinda") is not known as a Bach specialist, but was essaying his second concert performance in Europe of the great cantata BWV82, "Ich Habe Genug", reviewed elsewhere.
This taking over of Copenhagen by the men who sing high was augmented by two others: Chris Robson, also reprising his acting tour de force in the role of Tolomeo alongside Scholl, and a fascinating newcomer to the European opera scene in the form of young Michael Maniaci, a true male soprano in the small but pivotal role of Nireno. He was one of only two cast members new to the production, the other being John Lundgren as Curio. Once again, Lars Ulrik Mortensen conducted the baroque orchestra Concerto Copenhagen, this time more fully equipped in the horn section and sounding more comfortable in the most demanding of Handel's intricacies.
From a box-office point of view, this was a revival to ensure good returns on a known success story and it did not fail to come up with the goods in that department. Vocally too, the entire returning cast of Scholl, Inger Dam Jensen (Cleopatra), Randi Stene (Cornelia), Tuva Semmingsen (Sesto), Palle Knudsen (Achilla) all sounded far more in concert with both staging and each other, and many of the first-run lacunae have been filled or re-jigged to work more smoothly. However, it was also obvious that this staging still has its limitations and oddities that strike an uncomfortable note - the dead shark's appearance to loud audience laughter just prior to the emotionally-draining aria from an imprisoned Cornelia is still a dramatic disaster, whilst some of the more obvious visual jokes pall quickly.
Vocally, the stand outs were Semmingsen and Scholl. The young mezzo has matured vocally and dramatically and now makes a stunningly effective Sesto, showing great understanding of Handelian sensibilities yet also displaying confident cadenzas and ornaments all her own. She is lucky to have the build and features that adapt well to this part, and should be able to take this role almost anywhere in the world, should she wish to. Scholl's many fans were not disappointed by his performances during the first week - his renowned tone and technique, not to mention upstanding physique, fit this role extremely well, and there were some glorious moments once he had warmed up. If his "Aure, deh per pieta" lacked a little in legato silkiness compared to the first run, his singing in "Se Infiorito", the "duet" with the violinist on stage, was particularly elegant, charming and effortlessly virtuosic and also showed that he is now, at this stage of his career, beginning to feel more comfortable on the opera stage. A slight tendency to wave the hands around in moments of high emotion remains, but overall this was a much more satisfying dramatic performance than three years ago.
One young singer who will not have any such concerns on the dramatic front is Michael Maniaci - at 28 years old he is already showing an amazing ability to hold the eye whilst doing virtually nothing on the stage, coupled with an exciting strong true male soprano voice that promises much in roles written for the higher castratos of Handel's time. He has already had significant successes in such roles and as Monteverdi's Nerone in the United States (Wolf Trap, Glimmerglass, Chicago Opera Theatre ) as well as a much-discussed Cherubino at Pittsburg, and this was his European debut in a large house. Unlike in the original production three years ago, Nireno's one aria in Act 2 "Chi pede un momento" has been restored for Maniaci to sing, and he took full advantage of this opportunity. If the voice was still a little unfocused and uncontrolled from time to time, he showed excellent intonation, strength and true colour. One could look forward to hearing him in the title role of a major production Xerxes one day, and certainly as Sesto in the near future. Could this voice be the next big thing on the baroque opera scene, in the way that Daniels was a decade ago? Certainly it is an exciting prospect to whet the appetite of aficionados of the genre.
© Sue Loder 2005